,23 5 2 ? - 

PRICE IS CENTS. 



MUSICAL DUALITY, IN ONE ACT. 


FOR A LADY AND GENTLEMAN AND THE PROMPTER. 

WRITTEN AND ADAPTED 

By ALFRED B. SEDGWICK. 

THE MUSIC SELECTED AND ARRANGED BY A. B. SEDGWICK FROM LE 

COCQ’S OPERA, 

“ LA FILLE DE MADAME ANGOT.” 

TO WHICH ARE ADDED, 

A description of the Costumes—Synopsis of the Piece—Cast ol the Characters 
—Entrances and Exits—Relative Positions of the Performers on 
the Stage, and the whole of the Stage Business. 

- » ♦ -- 



I A GAUIE OF CARDS. A Comedietta. In One Act. By L. J. Hol- 

KOW j lenius. Price 15 cents. 

HEADY. ! HIGH C. A Comedietta. In One Act. By Sydney Rosenfeld. Price 
' 15 cents. 































DE WITT'S HALF-DIME MUSIC 

OP THE BEST SONGS FOB VOICE AND PIANO. 



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of the most choice and exquisite Pieces, by the most 
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tw- ri,EA.SE obdeb b y the nttmbebs. 

Address, R. M. DE WITT, Publisher, 

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Ho. Composer. 

3. Lover’s Letter-Itox. Wrighton. 

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Montgomery. 

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S3. My Spirit Star. Young. 

25. Little Maggie May. Blamphin. 

26. The Vagabond. Molloy. 

31. My Heart is O’er the Sen. .Clarlbel. 

32. Maggie’s Welcome. Clarlbel. 

35. Dreaming of Nellie. Hogett. 


3 t. Five O’ClocU in the Morning, 

Claribel. 

39. She Came and Vanished Like a 


Dream. Boucher. 

41. Meet Me in the Lane. Blamphin. 

43. Tapping at the Carden Gate. 

45. Sleeping on Guard. Wrighton. 

4 Tf. Summer Dew. Barker. 

49. Oh, My Lost Lore. Plumpton. 


-Vo. Composer. 

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55. Jess Macfarlane.Tucker. 

ST, Yes, I’ll Meet Thee, Dearest. 

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59. Hattie Bell. Webster. 

61. Whisper “Yes,” or “ No,” Love. 

“ Adele.” 

6‘i. Her Bright Smile Haunts Me 

Still. Wrighton. 

63. Oh, Cast that Shadow from Thy 

Brow. Tucker. 

6T. Love Not. Blockley. 

65. She Wore a W’reath of Roses. 

Knight. 

"“6. Pretty Little Dark Eyes... .Parker. 
t'S. When we went a Gleaning. 


Ganz. 

'S'4. Mary of Argyle.Nelson. 

^5. YYhat Did Little Birdie Say? 

Balfe. 

’*6. Sing, Bi-rdie, Sing.Ganz. 

’'S. Spring-Time of Life.Jackson. 

"59. Nightingale's Trill.Ganz. 








































MY WALKING PHOTOGRAPH. 


ULusicul Dual.fir, 


11ST one j ^ ct . 


FOR A LADY, A GENTLEMAN, AND THE PROMPTER. 


WRITTEN AND ADAPTED 

BY ALFRED B.' SEDGWICK. 


THE MUSIC SELECTED AND ARRANGED BY A. B. SEDGWICK FROM LF COCQ’S OPERA, 

“ LA FILLE DE MADAME ANGOT.” 


TO WHICH ARE ADDED, 

THE MUSIC AS ARRANGED FOR THE PIANO-FORTE—A DESCRIPTION OF THE 
COSTUMES—CAST OF THE CHARACTERS — SYNOPSIS OF THE 

PIECE-ENTRANCES AND EXITS—RELATIVE POSITIONS 

OF THE PERFORMERS ON THE STAGE, AND 
THE WHOLE OF THE STAGE BUSINESS. 



NEW YORK: 

EGBERT M. DE WITT, PUBLISHER, 

No. 33 Rose Street. 


(BETWEEN DUANK AND FRANKFORT STREETS.) 

Copyright, 1876, by Robert M. De Witt. 



0 










2 


MY WALKING PHOTOGRAPH. 


CHARACTERS REPRESENTED. 


Mu. Richard Robson (Teacher of Music) 
Mbs. Richabd Robson (his Wife). 


PERIOD—THE PRESENT. 


JU 3i" 


TIME IN PLAYING—ABOUT THIRTY MINUTES. 


SCENERY. 

SCENE. _A drawing room with glass door looking on garden in f. (practicable, 

C.) Practicable door leading into bedroom, k. 1 e. 5 another l. 2 e. An open fire¬ 
place with fire irons, etc., l. 2 e. A piano open, b. 2 e., with some sheets of music 
on it. A violin and case. Table with flowers, etc. ; chairs : a sofa ; bureau L. 2 e. 

Garden. 

.I I. 

.* French Window. 

- *. hj * Chair. .* - 

2d Entrance. ; g * Stool. Fireplace. : 2d Entrance. 

- • O • 

.♦ * Chair. Chair.* 

1st Entrance. Door. Chair.* O * Chair. Sofa . • Door. 1st Entrance. 

_ Centre Table. . * - 



COSTUMES. 

Mb. Robson.— First Dress: Gentleman’s walking suit, with dressing gown. Second 
Dress : The same, excepting black frock coat and high hat, in place of dressing 
gown. 

Mrs. Robson.— Lady’s morning suit. 


PROPERTIES. 

Centre table, with flowers and trinkets; piano and stool, with sheet music ; violin 
case and violin ; sofa; chairs ; bureau; work basket; two letters in envelopes; par¬ 
cel containing framed portrait; revolver; a ring for Robson ; practicable fireplace ; 
fender, fire irons, etc.; hearth rug; stage carpet. 


SYNOPSIS. 

Mr. Richard Robson is a musician of merit and standing in society, but rather 
flighty in his ideas. Two years before the opening of the piece he ha3 married a 
very amiable young lady, who loves him devotedly, and to whom he has always 
seemed the pink of perfection. But our hero, by aid of various disguises, has of late 
been enjoying himself hugely at masquerades, etc., and has even got into the good 
graces of a pretty widow, by representing himself as a single man. He has not only 
made desperate love to her, but has her ring as a gage d'amour. This he wears when 
rot in the presence of his wife. The widow eventually finding that he has been de¬ 
ceiving her, and discovering who he really is, sends an anonymous note to his wife 
disclosing everything. On being taxed with his perfidy, he, in order to save himself, 












MY WALKING PHOTOGRAPH. 


3 


tries to make her believe it is another person who has been the guilty party—one 
who is so much like him as to have often led to the most complicated mistakes. At 
first she believes, but on finding the ring on his finger her eyes are opened, and she 
determines on revenge. For this purpose she makes him believe that his double is 
no myth, but a real flesh and blood individual, who has been making desperate love 
to her in the character ol' her husband. He has put his arm round her waist, and 
even presented her with his portrait on the anniversary of their wedding day. Rob¬ 
son is furious, and hence some comical situations. When she has punished him 
sufficiently, the curtain falls on the reconciliation of the pair. 


The orchestral parts of the music of “ My Walking Photograph f arranged 
by Alfeed B. Sedgwick, for first and seeond violins, viola {ad lib.), basso, 
flute, clarionet, cornet and trombone, can be obtained to order, price $3, from 
Robert M. De Witt, Publisher, No. 33 Rose st., New York. 


EXPLANATION OF THE STAGE DIRECTIONS. 

The Actor is supposed to face the Audience. 


P. B. C. C. D. T>. L. C. 


2U U. E. 


SCENE. 


L* U# B* 


B. SB. 

8.2 b. 

/ 


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/ 


/ 


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l. Si. 


\ 


t 

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L« X 8* 


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it. o. 


c. 

AUDIENCE. 


P. 0. 


p. Left. 

P. c. Left Centre, 

p. 1 e. Left First Entrance, 

n. 2 e. Left Second Entrance, 

p. 3 e. Left Third Entrance. 

ti. v. e. Left Upper Entrance 

(wherever this Scene may be.) 
p. p. c. Door Left Centre. 


c. Centre. 

b. Right. 

E. 1 e. Right First Entrance. 

R. 2 e. Right Second Entrance. 
B. 3 e. Right Third Entrance. 
B. u. E. Right Upper Entrance, 
p. b. c- Door Right Centre. 










MY WALKING PHOTOGRAPH. 


SCENE.— A well-furnished apartment belonging to a fashionable music- 
teacher. Music for curtain. A bell is heard as curtain rises. 

Air . -The Waltz—Madame An got. 






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Mrs. Richard Robson ( speaking , without). Henry ! Did you not 
hear the bell 7 

Voice (m answer). Yes, Madam ; here is a letter and a parcel, both 
of which have but just now been left. 

Mrs. R. (entering with them in her hand, door l. 1 e), Thank you, 
Henry. A parcel 7 (looking at it) Oh, I know! ’Tis the portrait of my 
husband, which I myself copied and painted from his photograph, (ex- 




























































































































































MY WALKING PHOTOGRAPH. 


5 

amines picture) How nicely they have framed it, and how delighted he 
will be! I have meant it for a pleasant surprise on this, the anniver¬ 
sary of our wedding-day. Two years married and never as yet a single 
quarrel between us. I have one of the most constant of husbands. 
Yes; Richard is everything that I could have wished. Amiable, good- 
tempered, domestic ! Yes, indeed, very domestic. He never goes out 
anywhere—except where business calls—without taking me with him. 
But then his profession keeps him out so late at night. He has quite an 
extended connection, (sings) 


Air.—“ Elle est tellement Innocent 
Andantino Cantabile. 



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Yes ! yes 1 my husband we are 



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MY WALKING PHOTOGKAPH 


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Our tranquil life surprise; I saould die of grief ! 



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tween us; May there be none through life, I 






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MY WALKING PHOTOGRAPH. 


( after song) Yes, indeed ! dear Richard. We are happy ! But who can 
this letter be from I wonder 7 ! Tis a lady’s hand, and one quite unfa¬ 
miliar to me. Dear—dear—we always ponder over an address, while 
by simply tearing open the envelope all doubts would be at rest. How¬ 
ever, it can’t be anything alarming—so here goes. ( opens envelope and 
reads; her features change as she does so) Gracious! what can this mean 7 
Let me read again. “ Madame, you believe that you possess a model 
husband—a perfect gem of a man ! Model husbands don’t go to mas¬ 
querades disguised as sailors, and dance hornpipes for the gratification 
of the audience. They don’t go to pic-nics up the river with young 
widows—representing themselves as single men. They don’t flirt with 
widows and take rings from their fingers as keepsakes, even without 
permission ; or kiss their hands and declare that they adore them. Oh, 
no! If you don’t believe me, examine your husband’s fingers, and ask 
him how he came to possess the opal that adorns one of them—ask him 
further—who it was composed the ‘Boiled ice-cream sugar-pop’ maz¬ 
urka? Signed, One wuo Knows.” Horror ! Can it be possible ? Are 
all my thoughts of love thrown to the wind 7 No, no ! ’tis some vile 
conspiracy ! I won’t believe it. ( half doubting ) Yet, he does often stay 
out late at night, (warming to the cause ) But then I know it is only his 
Philharmonic rehearsals that cause him to be so late. Ha! here he 
comes ! 

Robson ( without ). I’ll stand it no longer. It’s unbearable ! 

Enter Robson, his hands behind his coat-tails. He has on a dressing gown. 

My dear Ellen, you really must discharge our cook. Her coffee is ex¬ 
ecrable ! My breakfast has been completely spoiled. 

M rs. R. [sternly). Richard, look me in the face ! 

Rob. Why, darling, you know that it is one of the greatest pleasures 
of my life to do that. 

Mrs. R- No flattery, Richard! You are a musician, and consequently 
come across the newest music. I have an important question to ask. 
Did you ever hear of the “ Boiled ice-cream Sugar-Pop ” mazurka? 

Rob. ( with a slight start , covered quicldy). La, Nelly ! No, I never did. 
Why, what an absurd name. Invented, I presume, in the interests of 
some pretentious confectionery dealer. 

Mrs. R. [aside). Oh, I’m so glad ! But then— [aloud) Now, Rich¬ 
ard—no jesting—I have been given to understand that you go to mas¬ 
querades and dance hornpipes in sailors’ clothes ; and that you go on 
pic-nics flirting with widows, [aside) 1 won’t say a woid about the ring 
yet—and his inveterate habit of keeping his hands behind him, makes 
it hard to observe. I’ll wait and watch. 

Rob. [who while she has been speaking aside , has shown signs of fidgetiness , 
suddenly breaks into a laugh). Oh, oh ! Ah, ah ! Come—1 like that now. 
1 flirt with ladies 7 I dance hornpipes ? My darling, are you insane? 
Why, consider the absurdity—the ridiculous absurdity of Richard Rob¬ 
son, Esq., the most leading teacher of music as yet appointed by the 
Board of Education, dancing hornpipes disguised as a sailor, or going 
to a pic-nic with any one but his own little popsy of a wife. By the 
way, I remember you were speaking of our going on a quiet one to¬ 
gether. When may that happy time occur, my love 7 

Mrs. R. No fooling, sir ; let me know the truth. 

Rob. Now, my darling — why should I fool you 7 I can have no pos¬ 
sible reason ! Yet, stay—a sudden thought. Has it possibly come to 
this 7 I wonder you never heard of it before. My love, there is a fast 
young fellow going about town, as like to me in appearance as one pin 


MY WALKING PHOTOGRAPH. 


9 


is to another. Why, it’s only the other day that I was insulted while 
walking on Broadway, by a man telling me that if I didn't settle up for 
the hire of “ that there team,” he would annihilate me. Now, fancy a 
poor musician like me hiring a team. Yes, it must be him that you 
have heard of. That other fellow—that perambulating photograph of 
myself! that double—in fact, a fellow that looks like me. fused to 
treat the matter as a joke : but when one’s domestic felicity is invaded 
—why—then- 

Mrs. R. [interrupting). A man so like you as all that 1 

Rob. You never saw such a resemblance. Perfect! Startling! I 
was told of it long ago—but 1 never believed it—in fact, 1 thought my 
friends were joking—until one night 1 happened into the saloon of the 
Fifth Avenue Hotel- 

Mrs. R. Saloon ! Do you mean the liquor saloon, sir I 

Rob. Yes, my love! You know I never frequent such places. And 
this was the first time that I was ever there—(aside) that day— (aloud) 
but I was obliged to meet Signor Gilmorissimo O’Flaherty that morn¬ 
ing on particular business—when—would you believe it—on looking in 
the glass behind the bar—(I couldn’t help admiring the gilt ornaments 
surrounding it, you know—or I shouldn’t have looked i—I actually saw 
the reflection of myself drinking a brandy cocktail. Now, just imagine 
it—no—no—my darling—I’m sure you can’t. You, who know that I 
never drink brandy cocktails. I could not understand it myself, until at 
last, on turning round, I saw my other self! my walking photograph, 
drinking the last drop from his glass. 

Mrs. S. Dear, dear, what an unfortunate position ! 

Rob. Yes! I really felt quite disconcerted. 

Mrs R. But your double’s appearance could never deceive me, 
though. I would know my own darling Richard among five thousand 
of them. 

Rob. Dear me ! Now that’s a very alarming suggestion. It might 
lead to much unpleasantness—and this particular individual is so ex¬ 
tremely like- 

M rs. R. Ilubby-dubby ! Don’t you know that you have a wart on 
your nose. 

Rob. Why, so I have. Never thought of that before, (aside) D—n 
the wart! [aloud) Ha, ha, ha! Yet, stay ! So has he! And exactly 
in the same spot. 

Mrs. R. Incredible! 

Rob. Very true, my dear ! Yet, so it is. However, it’s gone too far. 
I’ll bear it no longer—to be accused because I resemble a mean, con¬ 
temptible wart—no—no—no. I mean, that a mean, contemptible fel¬ 
low, with a wart on his nose, resembles me—I’ll have his blood—I’ll- 

Mrs. R. (alarmed). Pray, be calm, Richard ! Do nothing rash. I 
really do believe you. Make no quarrels. 

Rob. Why, what a darling little wife you are ! 





10 


MY WALKING PHOTOGRAPH 


i 


Duet.—“What a Darling Little Wife you are.” 
Air.—“ The Legend of Madame Angol .” 

^ Allegro. 


Mrs. Robson. 

• - 




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Robson. 

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In-deed! dear, I be lieve yon. Yon 


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As to him who looks like me! 


For of 


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A little slower. 

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MY WALKING PHOTOGRAPH 


11 



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see— If you search the town or country thro’, Than the 



Though I own its queer! I am sure it can’t be you, 
Though I own its queer! You ne’er saw me wear-ing blue, 

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Walk - ing round of nights, Dress’d in 
Walk - ing round of nights, Dress’d in 



sail - or tights ! ’Tis 
sail - or tights! ’Tis 
















































































































































































































































































12 


MY WALKING MOTOGltAPH. 



time. 




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too absurd to be quite true ! 
too absurd to be quite true ! 


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too absurd to be quite true! 
too absurd to be quite true! 

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Repeat from for Dance, arid Symphony. 
During latter part of tune they dance, poussetting to each other, she endeavor¬ 
ing vainly to catch a glimpse of his hands. 


Rob. ( after duet). Now, the idea of my deceiving you ! But where’s 
my coat, love I It is nearly time for me to go to my lessons. 

Mbs. R I’ll fetch it. 1 hung it in the dressing room. 

[Exit through door, r. 

Rob. Poor soul! How I have blinded her ; and what a brilliant idea! 
Worthy of old Nick himself ! and so very original. The absurdity of 
creating another self !—a double !—a shadow that can only exist in the 
brain of my little wife. But sha’n’t I profit by it! I shall no longer 
dread being recognized wherever I may go. I can always refer to that 
other scalawag, my walking photograph. ( laughs) But what a scamp 
you are, Mr. Richard Robson ! You’re a downright scoundrel! You 
ought to be kicked ! But then you know you’re weak. You are sus¬ 
ceptible, and you can’t help it. You are very much ashamed to say 
that you are quite fascinated with a certain charming young widow 
whom you have taken to pic-nics, and who believes you to be a single 
man. Yes, and you know that you actually took a ring off her Angel¬ 
as a gage d'amour. (looks at ring on his hand ) Upon my word, it is really 
a remarkably handsome one. Hallo ! here comes my wife back. ( hides 
hand under dressing gown.) 


Enter Mrs. Robson, r. 


Mrs. R. Here is your coat, love. Now you wont be longer away 
than you can help, will you ? 

Rob. {changing coat, throws dressing gown across chairs). Of course not! 
Am I ever 1 {she takes hold of both his hands while he kisses her'). Good¬ 
bye, my ducksy-pucksy ! [ Exit, l. d. 1 e. 

Mrs. R. The ring was on his hand—I felt it distinctly. Was there 
ever such dissembling 1 And if one part of this mysterious letter is 
true, why should not all of it be so! Oh, cruel, cruel! [cries) But I’ll 
be even with him yet. ( calls at door l.) Henry! 1 require you to deliver 
a note for me as soon as I have written it. 

Voice. I shall be in attendance, Madam. 

Mbs. R. Yes, I’ll pay him back in his own coin and give him the les¬ 
son he deserves. [Exit, door r. 




































































MY WALKING PHOTOGRAPH. 


13 


Re-enter Robson. Takes stage, walking rapidly from garden , c. 

Rob. I’ve changed my mind and come back. I’m sure there’s mis¬ 
chief brewing. How could she have gained her information 1 

Re-enter Mrs. Robson. 

Mrs. R. [starting). Eh ! Bless me ! Who have we here 'i 

Rob. My dear, I have changed my mind. I shall put aside all busi¬ 
ness for to-day, and pass a few quiet hours in the pleasure of your 
society. 

Mrs. R. [affecting surprise). Sir I Why, really, I never saw such a 
likeness—even to the wart. It’s really astonishing ! It’s really wonder¬ 
ful ! 

Rob. What’s wonderful I That I should wish to pass a few hours in 
your society ? 

Mrs. R. Why, it’s the very same voice ! 

Rob. Eh I 

Mrs. R. The same eyes ! The same hair ! . 

Rob. What’s the matter I How you stare I 

Mrs. R. You are certainly a most impertinent fellow to enter a 
house—not your own—in this most unwarrantable manner, and to stand 
talking to a strange lady with your hat on. 

Rob Good gracious ! What is the matter 7 

Mrs. R. I see how it is. You trust to this extraordinary likeness to 
my husband to come here in his absence for some base purpose. But 
you can’t deceive a faithful, loving wife. 

Rob. [aside). My goodness ! she takes me for my double, [aloud) 
Come, come, my dear, no nonsense. 

Mrs. R. [angrily). There shall be no nonsense, sir! and don’t address 
yourself to me in such familiar terms. 

Rob. Come, come, my love- 

Mrs. R. Stand off, sir ! What do you come here for ? What do you 
want I 

Rob. What do I want ? Why, to sit down in my own house with my 
own wife, to be sure. 

Mrs. R. Your house I—your wife I Oh ! your trick is seen through. 
The imposture is too transparent. 

Rob. [aside). Upon my life, this is becoming exceedingly awkward. 
I shall be deprived of my conjugal position—even of my own identity. 
(aloud) Now, my dear—ha! ha!—this is all very fine—an excellent 
jok>*; but, surely you know your own husband. 

Mrs. R. Undoubtedly I do, sir ; but you are not he ! If you are, 
prove it. 

Rob. How ? 

Mrs. R Not able to prove your own identity. I will have you 
turned out of the house. 

Rob. [angrily). But I tell you I am your husband. 

Mrs. R. And I tell you that you are not. You are only the fellow 
that is constantly mistaken for him. 

Rob Produce your evidence. 

Mus. R. ( seizing his hand). It is here, sir, on your finger. My hus¬ 
band never possessed a ring like that. That ring was purloined from 
a handsome young widow by a fellow that looks like him. You are 
that fellow. 

Rob. (aside). By jingo! I am tried and found guilty. 



14 


MY WALKING rilOTOGliAm. 


Mas. R. And if you are not he, why, then you must be my husband, 
and deceiving me in every way. 

Duet.— The Quarrel Duet. 


































































































































































































































































MY WALKING PHOTOGRAPH 


15 







































































































































































































































































































































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16 


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18 


MY WALKING PHOTOGRAPH". 



Rob. ( after duet). I must wriggle out of this somehow. I am obliged 
to deny that I am myself—that I am the husband of my wife, {aloud) 
Madam, I am penitent. I perceive that it is useless longer to pursue 
my nefarious course. I confess with heartfelt blushes of shame that I 
am not your husband, but that other fellow. 

Mrs. R. {indignantly). Then quit this house immediately. 

Rob. {bowing profoundly). Madam, I go. {aside) Oh, Lord ! to be 
kicked out of one’s own house. [Exit, r. c., into garden. 

Mrs. R {laughing). Ha! ha! ha! Capital! He has been dismissed 
from his own abode !—his identity denied ! and he has even confessed 
himself to be his own double! And now I may depend on it that he 
will try to make me believe in the existence of this double, so that he 
may do what he likes and go where he likes with impunity. Hark ! 
There is some one moving in our room, {peeps through keyhole d. in r.) 
As I live he has gone round through the garden and got in at the back 
window. Oh, Mr. Robson ! Mr. Robson ! I’ll be even with you yet. 

[Exits into garden , d. c. 

Robson enters on tiptoe, d. r. 


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19 



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MY WALKING PHOTOGRAPH. 


21 




Mrs. R. (i without , after song). Henry ! be so kind as to inform me 
when your master returns. 

Voice ( without ). I will be sure to do so, Madam. 

Rob. Ah ! she’s coming back. I’ll return to my hiding place, and 
reconnoitre. [Exits^ d. r., but puis his head out to listen. 

Enter Mas. Robson, from garden , c. 

Mrs. R. (aside). He is still there. I will carry out my plans, (she 
sits at table with bach to d. r., takes up some work and begins to sew , hum¬ 
ming a tune.) 


Re-enter Robson, d. r. 
















































































































































































































22 


MY WALKING PHOTOGRAPH. 


Rob. {aside). I can manage it all now. I’ve sent that confounded ring 
back to the owner, and hang me if ever I’ll appropriate a widow’s ring 
again. She must have discovered that I was married, and split upon 
me to my wife. I got in through the window of our room, and now 
she’ll think I have been there all the time, and still more firmly believe 
in that other fellow’s existence, {aloud) Ah, Nelly dear! there you are ! 
Industrious as usual, {she looks round at him, but continues to sing and 
work. Aside) She don’t seem a bit astonished, {aloud) My dear, don’t 
you see me l 

Mrs. R. *Do you think me blind, love 1 

Rob. I have decided not to give any more lessons to-day. 

Mrs. R. So you said before. 

Rob. {sitting on sofa and gazing at her). Oh, I said so before, did 11 

Mrs. R. Richard dear, I have a surprise for you. I’ve seen him! 

Rob. Him 1 —who I 

Mrs. R. {mysteriously). Your double—your mean, contemptible 
double. 

Rob. The blackguard! How I wish I’d been here. Is he very like 
me 1 

Mrs. R. Wonderfully so. There was only one thing that undeceived 
me—he wore an opal ring on his left hand. 

Rob. How lucky, to be sure ; for you know that I never wore a ring 
in my life. Look, {shotvs his hands ) 

Mrs. R. {aside). He has taken it off. {aloud) Of course ! and I told 
him so. I soon made him see that I knew all about his imposture. 

Rob. And the rascal wanted to palm himself off as me, did he I 

Mrs. R. He did! But, {turning suddenly) by the way, have you fin¬ 
ished the letter you were writing in my room I 

Rob. {starting). Writing in your room I 

Mrs. R. Now don’t be stupid. Don’t you remember that when you 
first went out this morning you returned soon after and startled me so 
by coming in at yonder window 7 

Rob. {aside). 1 did so just now; but she was not there, {aloud) My 
dear, I perfectly understand that my double has been here ; but that I 
startled you at your window- 

Mrs. R. Why, of course you did. Don’t you remember that you said 
you had come to give me an agreeable surprise, and had come through 
the garden in at the window to make it more complete 1 

Rob. {tapping his forehead). Dear me! I’m afraid that I’m losing my 
memory. 

Mrs. R. And it was so kind of you to give me your portrait, which I 
had always so longed for; and to think that you should have sat for it 
without telling me. What a dear little hubby, to be sure ! 

Rob {aside). Well, if she’s not insane, I must be, that’s very clear. 
{aloud) My portrait! let me see it. 

Mrs. R. ( taking it from table). Now don’t make me angry and pretend 
to forget. Didn’t you sit by me on that sofa and put your arm round 
my waist as you used to do ?—didn’t you kiss me and pat my hand as 
you used to do 7 

Rob. {looks bewildered). As I used to do 7 

Mrs. R. Yes, and didn’t you say all the impassioned and tender 
things that you used to do 1 

Rob Confound it! what a deal I must have been used to do. {aside) 
I never saw this portrait before, {aloud) I never recollect doing all that. 

Mrs. R. Give me back the portrait. I would not part with it for 
worlds ! because, though you are sometimes indifferent and perhaps a 



MY WALKING PIIOTOGKAPH. 


23 


little cold, I know what an ardent—what a devoted husband vou can 
be when you like. Bless you ! [j Exit with portrait , r. d 

Rob. Upon my word, I feel very uncomfortable. 1 an ardent, devoted 
husband 1 I’ll be hanged if lam. ( thinks) Murder! Who the deuce 
could have supposed that when I hit on the idea of saying that there 
was a fellow that looked, like me, that there really was such a person ! 
I feel in a very peculiar position. ( bell rings. He goes to door l. and looks 
out) Ha ! here comes Henry with a letter. I’ll go and take it of him. 
{goes out L., and immediately returns with letter in his hand; tears it open 
and reads) “Sir! I warn you not to interfere between your wife and 
myself. I love that woman, and I know that she loves me ! (Robson 
ejaculates, “ The devil she does !”) You are an obstacle in our path, and 
must be removed. If you don’t immediately quit New York, I shall 
find means to force you; and then, in your absence, the well-known re¬ 
semblance between us will everywhere allow me to represent myself as 

our Double.” —Oh! I shall go mad. Where’s my revolver! This 
letter is evidently in a disguised hand. Yet the writing seems familiar 
somehow. I shall commit murder ! I’ll sound a general alarm ! The 
whole police force shall do me justice. ( goes to bureau and gets pistol) I’ll 
have revenge. Help! murder ! fire ! Ten thousand furies ! where is 
the villain 1 Perhaps up the chimney, {fires two shots up chimney.) 

Enter Mrs. Robson, hurriedly , n. r. 

Mrs. R. ( rushing towards him). What’s the matter ? What has hap¬ 
pened ? Be quiet, I implore you. (aside) I’m afraid I’ve gone too far. 

Rob Don’t come near me, infamous woman that you are. I’ll kill 
him—I’ll avenge my wounded honor. Look at that letter, Madam, and 
confess it all. 

Mrs. R. (taking letter). Why, you silly little man, don’t you, know 
your own wife’s handwriting when you see it 1 

Rob (staring). Your wri—have I been fooled ? Where’s this fellow 
that looks like me—this walking photograph ? 

Mrs R. (laughing). Richard, he’s not to be found. 

Rob. No? 

Mbs. R. He existed only in your imagination. 

Rob. Well, there’s truth in that. But where’s the man that did as I 
used to do ? 

Mrs. R. He is not to be found either. 

Rob. No ? 

Mrs. R. Because he existed only in my imagination. 

Rob. But the portrait 1 

Mrs. R. I painted it myself as a surprise for you. In the meantime, 
(archly) how about the ring ? 

Rob. I blush to say that there’s some truth in that, though. But I 
have returned it to its owner ; and I strongly suspect that she was your 
informer. But I am magnanimous—I forgive you both. 

Mrs. R. Nay, Richard ! ’tis I that should forgive, and I do so on 
promise of amendment. For be assured that when one has committed 
a folly it is far better to confess and avoid it for the future than to 
endeavor to conceal it by some ridiculous and transparent subterfuge. 

Rob. You are quite right, dear! and I won’t go to any more mas¬ 
querades. (aside) At all events, in the disguise of a sailor, (aloud) We 
must all reform some time or other, although (to audience) it was a mag¬ 
nificent invention of mine, wasn’t it?—that of “ My Walking Photo¬ 
graph ! ” 


24 


MY "WALKING PHOTOGRAPH 


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DE WITT’S ACTING PLAYS. 


No. ^ 

4 DANDELION’S DODGES. A Farce in one act, fey Thomas 

J. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce¬ 
nery, a picturesque landscape. Time in representation, fifty minutes. 

5 WILLIAM TELL WITH A VENGEANCE; or,the Pet, 

the Patriot and the Pippin. A grand new Burlesque by Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos¬ 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time in representation, one hour. 

6 SIX MONTHS AGO. A Comedietta in one act, fey Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house. , Easily produced. Time in representation, forty minutes. 

1 MAUD’S PERIL. A Drama in four acts, by Watts 

Phillips. Five male and three female characters. Strong and sensational. 
CostuniG of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR; or, a Daughter’s Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three female characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. "Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed¬ 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES; or, Matrimonial Masque¬ 

rading. A duologue in one act, by John B. Buckstone. One male ana om 
female character, who assume a second each. Avery ludicrous farce ; hat 
been eminently successful. Costumes of the day. Scene, a drawing room 
Time in representation, one hour. 

11 WOODCOCK’S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composilion, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Waliack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. An original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge¬ 
nious and well known alteration of the same author’s “Everybody’s Friend,” 
the part of Major Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Fechter. 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of l(i92. Scenery, halls and apart¬ 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five aets, -with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successlul as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated ; English exteriors, Swiss interiors and Alpine passes. Time 
in representation, three hours and forty minutes. 

1?/ MILKY WHITE. A domestic Drama m two acts fey H. 

T. Craven. Four male and two female characters. A good acting, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in¬ 
terior. Time in representation, one hour and a half. 

















DE WITT’S ACTING PLAYS. 


No. 

16 DEARER THAN LIFE. A serio-comic Drama in three 

acts, by Henry J. Byron. Six male and five female characters. An effective 
piece, which could be readily performed by amateurs with success. Cos¬ 
tumes, English of the c ay. Scenery, two interiors, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by William Brongh. Six male and four female characters. A well written 
composition with well drawn characters. Costumes of the present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

IS IF I HAD A THOUSAND A YEAR. A Farce in one 

act, by John Maddison Morton. Four male and three female charac¬ 
ters. A sp'endid social sketch—the part of Green being excel ent for a good 
light comedian. Costumes of the present day; and scenery, a neatly fur¬ 
nished interior. Time in representation, one hour and fifteen minutes. 

19 HE’S A LUNATIC. A Farce in one act, by Felix Dale. 

Three male and two female characters. A sprightly, laughter-provoking 
production. Modern dr. sses ; and scene, a drawing room. Time in repre¬ 
sentation, forty minutes. 

20 DADDY GRAY. A £©rio“o©zmc Drama in three acts, 

by Andrew Haliiday. Eight male and four female characters. One of the 
author’s most effective and natural compositions. Dresses of the present day. 
Scenery, interior of a cottage, a lawyer’s office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DSEAMa ; or, My Lady Clara. A Drama in five acts, ty 

T. W. Robertson. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc¬ 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRICK. A Comedy in three acts, by T. W. 

Robertson. Eight male and three female characters. Most effectively per¬ 
formed by Mr. Suthern in England and in America with decided success. Cos¬ 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac¬ 
ters. A'revision of the “House of Ladies.” Performed with great success 
at Mitchell’s Olympic in New York. The costumes are extremely fanciful 
an l exaggerated, "Scenery, modern English. Time in representation, one 
hour and five minutes. 

24 CABMAN No. 93; or, Found 211 a Four Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char¬ 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, by 

J Sterling Coyne. Four male and eight female characters. A laughable 
satire on "the Women’s Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26 SOCIETY. A Comody in threo acts, by T. W. Robert¬ 

son. Sixteen male and five female characters. A play exceedingly popular, 
intended to exhibit the foibles of British Society-and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre¬ 
sentation, two hours and a half. 

27 TIME AND TIDE. A Drama i:i three acts and a pro- 

lo<me, by Henry Leslie. Seven male and five female characters. An effec¬ 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 














DE WITT’S ACTING PLAYS 


No. 

53 GERTRUDE’S MONEY SOX. A Fare© in one act, "by 

Harry Lemon. Four male and two female characters. A successful, well 
written piece; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty-five minutes. 

54 THE YOUNG COLLEGIAN (The Cantab 1 . A Farce in 

one act, byT. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could lx; splendidly 
worked up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWARD; cr, tbo Throve, the Tomb 

and the Scaffold. An historical play in three acts | from the celebrated 
play of that name, by Alexander Dumas]; adapted by W. I). Suter. Twelve 
male and five female characters. A most successful acting drama in both 
France and England. Costumes of the period of Henry VIII of England, 
artistic and rich. Scenery elaborate and historical. Time in representa¬ 
tion, two hours and a half. 

58 TWO GAY DECEIVERS; or, Black, Whit© and Gray. 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIF. A Drama in two acts, translated and adapt¬ 

ed from the French of Hennery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEBORAH (LEAK); or, the Jewiah Maiden’s Wrong. 

A Drama in three acts, by Charles Smith Choltnam. Seven male and six 
female characters. A strangely effective acting play. Costumes pictur¬ 
esque yet simple. Scenery elaborate and cumbersome to handle, lime in 
representation, two hours and fifteen minutes. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. Aza. original Drama izi two actv, by 

H. T. Craven. Five male and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, "an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Vennon. A Drama in four acts, by Tom Taylor. Five male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, t-w > hours and a half. 

61 BLOT AND PASSION* A Drains in three aotn [from 

the French!, by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of the period of the First Empire, rich and attractive? Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen¬ 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in oh© act, by 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Fare© in oji© act, "by 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOU EEOLS FAIRY. A domestic Sketch in cn© act, 

by Francis Talfourd. One male and one female character. A gem in its line; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 















DE WITT’S ACTING PLAYS. 


No. 

65 CHECKMATE. A Comedy in two acts, by Andrew Hal- 

May. Six male and five female characters. Costumes, English, of the pres¬ 
ent day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time in representation, one hour and a half. 

68 THE ORANGE GIP»L. A Drama in a prologue and 

three acts, by Harry Leslie and Nicholas Rowe. Eighteen male and four 
female characters. Costumes of the present day; this piece requires con¬ 
siderable scenery, and some of an especial nature. Time in representation, 
two hours and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act, by John Hollingshead. Seven male and three female characters. A 
capital acting extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workingman’s room. Time in repre¬ 
sentation, forty minutes. 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Vele&ville and Roger de Beauvoir, 
by T. W. Robertson. Nine male and three female characters. A very popu¬ 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, &c. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a half. 

69 CAUGHT BY THE CUFF. A Farce in on© act, by 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situations. Costumes of the day. i 
Scene, a kitchen. Time in represeutation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, by 

Charles Selby, Comedian. Three male and one ^smale characters. A very 
sprightly piece, in which the lady is requi/red to sing, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty-five minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Rophino Lacy. Five male and three female characters. An 
effective acting piece, popular in London. Costumes of the day. Two scenes, 
one interior of cottage, the other a arawiug room. Time in representation, 
one hour and a half. 

7 1 A LAME EXCUSE. A Farce in ono act, by Frederick 

Hay. Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-five minutes. 

73 A GOLDEN FETTER (FETTERED), A Drama in three 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Fare© in on© act, by J. R. 

pianehe. Seven male and four female characters. Costumes of the year 
1742—court dresses, regimentals, velvet trains, &c. Scenery, a plain interior. 
Time of representation, forty-five inmates. 

75 ADRIENNE; or, the Secret of a Life. Drama in three 

acts by Harry Leslie. Seven male and three female characters. A telling 
roman tic drama. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour and 
forty-five minutes. 

78 THE CHOPS OF THE CHANNEL. An original Nauti¬ 
cal Farce in one act, by Frederick llay. Three male and two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of th« present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 















DE WITT’S ACTING PLAYS. 


No. 

77 THE ROLL OF THE BRUM. A romantic Drama in 

three acta, by Thomas Egerton Wilks. Eight male and four female charac 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawingroom. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES. A Farce in one act. by 

Wilmot Harrison. Seven male and three female characters. A most ludi¬ 
crous, ingenious and sprightly production. Dresses of the present day. 
- Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP IN WOLF’S CLOTHING.. A domestic^Drama 

in one act, freely adapted from Madame de Girardin’s “ Tine Femme qui 
deteste Son Mari ,” by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following Mon¬ 
mouth’s rebellion. Costumes of the time of James II of England. Scene, a 
tapestried chamber. Time of playing, one hour. 

80 A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre¬ 
sent day. Scene, a handsomely furnished apartment. Time in representa¬ 
tion, forty minutes. 

81 VANDYKE BROWN. A Farce in on© act, by Adolphus 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP O’ DAY ; or, Savourneen Dheelish. An Irish 

romantic Drama in four acts (derived from “ Tales of the O’Hara Family”), 
by Edmund Falconer. The New “ Drury Lane ” version. Twelve male and 
four female characters. Costumes, Irish, in the year 1798. Scenery, illustra¬ 
tive of Munster. Time in representation, three hours. 

| 83 THRICE MARRIED. A personation piece in one act, 

by Howard Paul. Six male and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a room in a lodging 
house. Time in representation, three quarters of an hour. 

81 IT GUILTY. A Drama in four acts, by'Watts Phillips, 

en male and six female characters. A thrilling drama f<mnd upon a fact. 
Costumes of the present day. Scenery illustrative of localities about 
Southampton and its harbor, and of others in India. Time in representa¬ 
tion, three hours. 

85 LOCKED IN WITH A LADY, A Sketch from Life, 

by H. R. Addison. One male and one female character. A very pleas¬ 
ing and humorous interlude. Costume of the day, and scene a bachelor’s 
apartment. Time in representation, thirty-five minutes. 

86 THE LADY OF LYONS; or,Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame Deschapelles and the Widow Melnotte are each excellent 
in their line. The piece abounds in eloquent declamation and sparkling 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comic Scene, illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod¬ 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in on© act, by J. P. 

Wooler. Four male and two female characters. A favorite acting piece, 
easily put on the stage and never failing in success. Costumes of the pres¬ 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 

- 
















DE WITT’S ACTING PLAYS 


No. 

89 ATJNT CHARLOTTE'S MAID. A Farce in one .act, T y 

*J. Maddison Morton. Three male and three female characters. One of the 
best of this prolific humorist’s dramatic pieces, cresses of the period, and 
scene an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONLY A HALFPENNY. A Fa-co in one act, by Jo3m 

Oxenford. Two male and two female characters. Dresses of the present 
day, and scene an elegantly furnished interior. Time in representation, 
thirty-five minutes. 

91 WALPOLE ; or, Every Man has his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
• of the period of George I of England. Scenery illustrative of London locali¬ 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY 'WIFE’S OUT. A Farce in one act, by G. Herbert 

Rodwell. Two male and two female characters. This piece had a suc¬ 
cessful run at the t ovent Garden Theatre, London. Costume modern, and 
scene an artist’s studio. Time in representation, forty minutes. 

93 THE AREA BELLE. A Farce in one act, by William 

Brough and At.drew Halliday. Three male and two female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. 

94 OUR CLERKS; or, No. 3, Fig Tree Court, Temple. An 

original Farce, in one act. Seven male and five female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen¬ 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, by Wil¬ 

liam Brough and Andrew Halliday. Three male and ten female characters. 
Costumes modern English, and scene a breakfast room in a fashionble man¬ 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, Toy Wal¬ 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in one act, Tcy J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty minutes. 

98 “WHO IS WHO? or, All in a Fog, A Farce, adapted 

from the French, by Thomas J. Williams. Three male and two female char¬ 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

99 THE FIFTH WHEEL. A Comedy in three acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG. A Drama ?n two acta, by J. B. John¬ 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform¬ 
ance, one hour and twenty minutes. 

101 FERNANDE ; or, Forrive and Forget. A Drama in three 

acts, by Victorien Sardou. Eleven male and ten female characters. This 
is a correct version of the celebrated play as performed in Paris ai d adapt¬ 
ed to the English stage, by Henry L. Williams. Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED ; or, a Struggle for Life and Liber iy. A Drama 

in four acts, by O. W. Cornish. 9 males, 3 females. Costumes, im iNn 
American. Scenery—a variety of scenes required, but none <labe>rate. 
Time in representation, three and a half hours. 










DE WITT’S ACTING PLAYS 


No. 

103 FAUST AND MARGUERITE. A romantic Drama in 

three acts, translated from the French of Michel Carrey by '1 homas 
William Robertson, Nine male and seven female characters. Costumes 
German, of the sixteenth century; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME, A Drama in five acts, by Wilkie Collins. 

Seven male and five female characters. A dramatization of the author’s 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH OF THE TWO. A Comedietta in one act, Iby 

John M. Morton. Two male and ten female characters. A very neat and 
interesting petty come ly. Costume Russian. Scene, public room of an 
inn. Time of playing, fifty minutes. 

10S UP FOR THE CATTLE SHOW. A Farce in on© act, 

by Harry Lemon. Six male and two female characters. Costumes Eng¬ 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, by Frederick 

Hay. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SCROGGINS; or, Chang© o? Name. A F-’rce in 

one act, by William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 LOCKED IN. A Comedietta in on© act, by J. P. "Wool- 

cr. Two male and two female characters. Costumes of the period. Scerx*, 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON’3 PREDICAMENTS. A Farce in on© 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min¬ 
utes. 

111 THE LIAR. A Comedy in two acts, Iby Samuel Foote. 

Seven male and two female characters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c ; 
still the modern dress will suffice. Scenes—one, a park, the other a draw¬ 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

| 112 NOT A BIT JEALOUS. A Farce in on© act, "by T. 'W. 

Robertson. Three male and three female characters. Costum s of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL’S SUCCESS. A Comedy in five acts, by Henry 

j J. Byron. Ten male and four female characters. Costumes modern. 

Scenery, four interiors. Time in representation, tlr.ee hours twenty 
minutes. 

114 ANYTHING FOR A CHANGE. A petife Comedy in 

one act, by Shirley Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
\ one minutes. 

! 115 NE*V^ M[EN AND OLD ACRES. A Comedy in tlireo 

acts by Tom Taylor. Eight male and live female characters. Costumes 
present day. Scenery somewhat, complicated. Time in representation 
two hours. 

116 I’M NOT MESILF AT ALL. An original Irisb Stew 

in one act, by C. A. Maltby. Three male and two female characters. Cos¬ 
tume of present day, undress uniform, Irish peasant and Highland dress 
Scene, a room. Time in playing twenty-eight minutes. 




















DE WITT’S ACTING PLAYS. 


No. 

m NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char¬ 
acters. Excellent for amateurs. Costumes of the day. Scenery, three 
interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in ono act, by 

W. E Suter. Three male characters. Effective for amateurs. Costumes 
of the day. Scene, a room. Time in playing, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, by Adolph 

Belot; translated by John Oxenford and Horace Wigan. Fourteen male 
and five female characters. Costumes modern French. Scenery elaborate. 
Time in representation, two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

act. Two male and one female characters. Admirably adapted for private 
pei'formance. Costumes of the day. Scene, an interior. Time of repre¬ 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by Wil¬ 

liam Brough. Three male and one female characters. Costumes French, 
of last century. Scene, a drawing room. Time in representat.cn, forty 
minutes. 

122 ISABELLA QRSINI. A romantic Drama in fonr acts, 

by S. II. Mosenthal. Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre¬ 
sentation, three and a half hours. 

123 THE TWO FQLTS. A. Fare© in on© act, by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery, a street and two interiors. Time in representation, forty-five 
minutes. 

124 THE VOLUNTEER REVIEW; or, The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the “ Home Guard,” or “ Militia 
Muster.” Costumes of the day ; and scene, a room. Time in representa¬ 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Burnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty-five minutes. 

126 TWICE KILLED. A Farce in one act, by John Ox¬ 

enford. Six male and three female characters. Costumes modern ; scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

127 PEGGY GREEN. A Fare© in one act, by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or. The Mother’s Dying 

Child. A Drama in three acts, by C. H. Hazlewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. 

129 IN FOR A HOLIDAY. A Farce in one act, by F. C. 

Bnrnand. Two male and three female characters. Costumes of the period, 
and scene an interior. Time in performance, thirty-five minutes. 

130 MY WIFE’S DIARY. A Farce in one act. Fro?n the 

French of MM. Dennery and Clairville, by T. W. Robertson. Three male 
and one female characters. Costumes modern French, and scene a drawing 
room. Time in representation, fifty minntes. 

131 GO TO PUTNEY. A Farce in one act, by Harry 

Lemon. Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time in representation, 
forty -five minntes. 

















DE WITT’S ACTING PLAYS, 


#•> 


No. 

132 A RACE FOR A DINNER. A Farce in on© act, by 

J. F. G. Eodwell. Ten male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in on© act, 

by Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a "plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR, A Fare© in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char¬ 
acters. Costumes modern, and scene an ironmonger’s shop. Time in play¬ 
ing, thirty-five minutes. 

135 EVERYBODY’S FRIEND. A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female chai act-era. 
Costumers French and Italian. Scenery complicated. Time of playing, 
three hours and twenty-five minutes. 

137 I/ARTICEE 47 ? or Breaking the Ban. A Drams in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three floors and 
ten minutes. 

138 POLE AN© PARTNER JOEt or. The Pride of Put¬ 

ney and the Pressing Pirate. A Burlesque in one act and four scenes, by 
F. C. Burnand. Ten male and three female characters. (Many of the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy its two acts, by 

James Mortimer. Three male and three female characters. Costume, 
•modern Freneh. Scenery, two interiors. Time in representation, one 
hour and forty-five minutes, 

140 NEVER RECKON YOUR CHICKENS, &e. A Fare© 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

141 THE BELLS ? or, the FolSsb Jew. A romantic moral 

Drama in three acts, by MM. Erekmann and distrain. Mne male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty mim - 
ntes. 

142 DOLLARS AN© CENTS. An original American Com¬ 

edy in three acts, by L. J. BoUenius, as performed by the Murray Bill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in represen¬ 
tation. two and three quarter hours. 

143 DODGERS AND DODGERS. A Fare© in on© act, by 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer, 

144 THE "LANCASHIRE LASS ; or. Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Byron. Twelve male and three female characters. Costumes of the pres¬ 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 


















DE WITT’S ACTING PLATS. 


No. 

145 FIRST LOVE, A Comedy in one act, by Eugene Scribe. 

Adapted to the American stage by L. J. Hollenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE’S NO SMOKE WITHOUT FIRE. A Come¬ 

dietta in one act, by Thomas Picton. One male and two female charac¬ 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in three acts, 

9 by Tom Taylor. Eleven male and five female characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two hours and forty minutes. 

148 CUT OFF WITH A SHILLING. A Comedietta in 

one act, byS. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in four acts, by Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos¬ 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 

150 A TELL-TALE HEART. A Comedietta in on© act, by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minntes. 

151 A HARD CASE. A Farce in one act, by Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID’S EYE-GLASS. A Comedy in ono act, I 

Thomas Picton. One male and one female characters. Adapted lor ama¬ 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-five minutes. 

153 ’TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes modern, and 
scene, an artist’s studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALENA. A Play in fcur acts, by 8 

L. J. Hollenius. Eight male, six female characters. An uniformly good j 
stock company is alone needed to properly produce this charming piece, j 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours. 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor¬ 
mation tableau, by John B. Renauld. Twenty-four male and five 
female characters. Large parties af retired volunteers can a pear with 
great effect in this play. Costumes modern, civil and military. Scenery, 
interiors of dwellings, encampments and battle-fields. 

156 PEACE AT ANY PRICE. A Farce in ono act, by T. 

W. Robertson. One male and one female characters ; but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
capital sketch for two lively amateur comedians. Costume modern. 
Scenery—there is but one scene throughout the piece—a meanly furnished 
apartment. Time in representation, twenty minutes. 

157 QUITE AT HOME. A Comedietta in one act, by Arthur 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab¬ 
bily furnished apartment. Time m representation, forty-five minutes. 



















DE WITT'S ACTING PLAYS. 


No. 

158 SCHOOL* A Comedy in four acts, by T. "W. Robertson. 

Six male and six female characters. Is a very superior piece, and has 
three characters unusually good for either sex. Could be played with fine 
effect at a girls’ seminary. Costumes modern. Scenery, English land¬ 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE WRONG HOUSE. A Farce in one act, by 

Martin Becker. Four male a id two female characters. A very justly 
popular piece. Two of the m >lc characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time iu representation, twenty-five minutes. 

- 9 

160 BLOW FOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings; Time in 
representation, three hours. 

161 WOMAN’S VOWS AND MASONS’ OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations,Tne characters and beautiful dialogues. Costumes 
modem, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

i hey re Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCORETT I. A romantic Drama in three acts, by 

John M. Kingdom. Ton male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian’s 
dress. Scenery, interior of castle, mountain passe-, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY; or, H»me Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Ruby tine per¬ 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farre In one act, by Joseph 

J. Dilloy and James Allen. Three male and two female characters. Brim¬ 
ful of fun. Trot tor a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior 

166 BARD ELL vs. PRlKWiCK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha¬ 
racters. Uncommonly fmw.y. Affords good chance to ‘ take off ” local 
legal celebrities. Costumes modern • s cenery, a court room. Time in 
performance, thirty minutes. 

167 APPLE BLOSSOMS. A Comsdy in three acts,by James 

Albery. Seven malo and three femnte characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English’ 
Scenery, exterior and interior of inn. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE’3 RIGHTS. A CcmoJy in two acts, by 

James Albery. Four male a»d two female characters. Has several ex¬ 
cellent characters. John Tweedie, powerful personation ; Tim Whither 
very funny. Costumes modern. Scenery, a stone mason’s yard and 
modest interior. Time in representation, one hour and twenty-five 
minutes. 
















DE WITT’S ACTING PLAYS. 


No. 

169 MYT UNCLE’S SUIT. A Farce in one act, by Martin 

Becher. Four male and one female characters, Has a jolly good low 
comedy part, a due light comedy one v and a brisk, pert lady’s maid. 
Co-tomes modern. Scenery, a well furnished sitting room. Time in rep¬ 
resentation, thirty minutes. 

ITO ONljY SOMSlsOT^'ST; or, [Dreadfully Alarming. A 

Farce in one act. by (Jonway Bdvvardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents Every way fitted fo amateurs Costumes modern Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

’ll MOTH f NG LIKE PASTE. A Farce in ore act, by Chas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

172 OURS. A Comely in three acts, by T. W. Koberteon. 

Six male and three female characters. One of t lie best and most admired 
plays in our language—While a fair stock company can play it acceutably. 
It has several characters fit for stars. Costumes modern, with British 
military uniforms. Scenery, gardens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

173 OFF THE STAGE. An entirely original Comedietta 

in one act, by Sydney Eosenfcld. Three male and three female characters, 
all equally excellent. One of the sprightliest, wittiest and most amusing 
little plays ever written, causing almost an hour’s constant merriment. 
Costumes modern. Scene a handsome interior. 

174 HOME. A Comedy in three acts, by T. W. R.nbcrt'ic::. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST IJ-ON THE WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac¬ 
ters. A remarkably effective piece. Costumes modern. Scenery some¬ 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Rosenfeid. A 
ro licking little piece. One male and two female characters. Contain ng a 
brilliant soubrette part. Costumes modern. Scene an uncarpcted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR. A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. A very pleasing little play, with good parts for all. Very 
bright and witty. Costumes modern. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, five 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes modern, Time in representation, two 
hours and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Robertson. Five male, two female charac¬ 
ters. A capital, very merry piece. Good for amateurs. Time in repre¬ 
sentation, one hour. Scenery, two interiors. Costume, modem. 

180 HENB.Y THE FIFTH. An Historical Play in five art . 

By William Shakspeare. Thirty-eight male, five female characters. This 

t jrand play has a rare blending of the loftiest tragedy, with the richest and 
iroadest humor. This edition is the most complete in every respect ever 
published. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 














DE WITT’S ETHIOPIAN AND COMIC DRAMA. 


No. 

6 THE BEACK CHAP FROM WHITECHAPEL. An 

eccentric Negro Piece, adapted from Burnand and Williams’ “ B. B ” by 
Henry L. Williams, Jr. Four male characters. Costumes modern. Scene, 
an interior. Time in representation, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very droll ; 
fit for star “ darky ” players. Costumes modern and fantastic dresses. 
Scenery, an ordinary room. Time in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian Sketch in two 

scenes, by James Maffit. Four male characters. Capital burlesque of 
courts of “justice;” all the parts good. Costumes modern mid Quaker. 
Scenery, a wood view and a court room. Time in representation, twenty 
minutes. 

9 THE POLICY PLAYERS. An Ethiopian Sketch in on© 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad rice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinarykitehen. Time in representation, twenty minutes. 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in the extreme. Costumes modern or Yankee—extravagant. 
Scenery, an apothecary’s laboratory. Time in representation, seventeen 
minutes. 

11 BLACR-EY’D WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. FoHr male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor; 
all characters excellent. Costumes modern genteel, negro and Yankee 

f arbs. Scenery, ordinary room with camera. Tkne in representation, 
ffeen minutes. 

13 THE STREETS OF NEW YORK? or, New York by 

Gaslight. An Ethiopian Liketeh in one seene, by Charles White. Six male 
characters. Three of the parts very droll; others good. Costumes some 
modern, some Yankee ana some loaf'erish. Sceuery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five maie characters A piece full of incidents 
to raise mirth. Three of the patts capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM’S COURTSHIP. Aim Ethiopian Fare© in on© act, 

by Charles White. Two male and ®ne female characters. All the charac¬ 
ters particularly jolly. Two of the parts can be played in either white or 
black, and <>ne in Dutch. Costumes Yankee nad modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesqrue Ethiopian Sketch 

in one scene, by Charles White. Five male charactess. Richly ludicrous ; 
all the characters funny. Costumes faniastieal, and extravagant military 
uniforms. Scenery, ludicrous “takeoff” of fortifications. Time in repre¬ 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketeh in ens act, by 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary “ darkey ” clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LiVE IN55IAN; o-i*, .Jim Crow. A comical Efhi* 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modem and darkey. Scenery, chamber and street. Time in representation^ 
twenty minutes. 














DE WITT’S ETHIOPIAN AND COMIC DRAMA. 


No. 

19 MALICIOUS TRESPASS; or. Points of Law. An Ethi¬ 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Costumes extravagant 
modern garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. . 

20 GOING FOR THE CUP ; or, Old Mrs. Williams’ Dance. 

An Ethiopian Interlude, by Charles White. Four male characters. One 
capital part fnr a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMPIMI. An anti-tragical, comical, magical and 

lamrhable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra¬ 
vagantly eccentric. Scenery, plain rustic chamber. Time in representa¬ 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Nc^ro Extrava"raT?.?a in on© scene, 

by Daniel D. Emmett. Five male, one fcmale'characters. Needs several 
good players-then there is “music in the air.” Costumes burlesque, 
fashionable and low negro dresses. Scenery, a kitchen. Time in represen¬ 
tation, twenty minutes. 

24 BRUISED AND CURED. A No rro Burlesque Sketch in 

one scene, by A. J. Leavitt. Two m l characters. A rich satire upou 
the muscular furore of the day. Cos nines tights and guernsey shirts 
and negro dress Scenery, plain chamb er. Time in representation, twenty 
minute*. 

25 THE FELLOW THAT BOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters—one 

1 female, lioilingover with fun, especially if one can make up like Lester 

Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in rep esentation, twenty-live minutes 

1 26 RIVAL. TENANTS. A Sketch, by Gcorpre L. Stout. 

Four male characters. Humorously satirical ; the parts all very funny- 
Costumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Nee?o 

Sketch, by Ciiarle- White. Seven male, one female characters. Affords 
excellent chance for imitations of popular ‘ stars.” Costumes modern, 
some ver/ shabby. Scenery, plain chamber. Time in representation, 
twenty minutes 

tyu XJNCL E EPH’S DREAM. An Original Negro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male, 
one female characters. A very pathetic little pi&ce, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty minutes. 

WH') DIED FIRST? A Ne-yro Sketch in ore Scone, Thy 

^ A j Leavitt. Three male, one female characters. Jasper and Hannah 
are qoth very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

ONE NIGH F IN A BAR ROOM. A nrlesqiie Sk-rfch, 

^ arranged by Charles White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod¬ 
ern. Scenery, an oriliuary interior. Time in representation, twenty min¬ 
utes. 

I _ __*- 

i 















DE WITT’S ETHIOPIAN AND COMIC DRAMA. 


No. 

31 GLYCERINE OIL. An Ethiopian Sketch, try John Ar¬ 

nold. Three male characters, all good. Costumes, (Quaker and eccentric 
modern. Scenery, a street and a kitchen. Time in representation, lifteen 
minutes. 

32 WAKE UP, WfLLIAM HENRY. A Negro Sketch, ar¬ 

ranged by Charles White. Three male characters, which have been favor¬ 
ites of our best performers. Costumes modern—some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arrange ! by 

Charles White. Two male, one female characters. Full of farcical dia¬ 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham¬ 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW. An Ethiopian Sketch 

in one scene, arranged by Charles WLite. Four male, one female charac¬ 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land¬ 
scape. Time in representation, fifteen minutes. 

35 COAL HEAVERS’ REVENGE. A Negro Sketch in one 

scene, by George L. Stout. Six male characters. The two coal heavers 
have “ roaring” parts. Costumes, modern, Irish and negro comic make 
up. Scenery, landscape. 'Time in representation, twenty minutes. 

36 LAUGHING GAS. A Negro Burlesque Sketch in one 

scene, arranged by Charles White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modem genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min¬ 
utes. 

37 A LUCKY JOS. A Negro Pare© in two scenes, arranged 

by Charles White. Three male, two female characters. A. rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham¬ 
ber. Time in representation, thirty minutes. 

38 SIAMESE TWINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard’s 
dress. Scenery, a street and a chamber. Time in representation, twenty- 
five minutes. 

3D "WANTED A NURSE. A laughable S etch iu me 

scene, ; rranged by Charles White. Four male characters. All the charac¬ 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Nogro Sketch in one scene, by 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci¬ 
dents. Costumes, modern ; one policeman’s uniform. Scenery, a' plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION. An Ethiopian Sketch in two scenes, "by 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modern, some eccentric. Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAD WHiSKEY. A comic Sketch in one scene, 

by bam Rickey and Master -Barney. Two male, one female characters. 
One of the very best of its class. Extravagant low Irish dress and a police¬ 
man’s uniform. 

43 BABY ELEPHANT. A Negro Sketch in two scenes. 

I3yd. C. Stewart. Seven male, one female characters. Uproariouslvcomic 
in idea and execution. Costumes, modern. Scenery, one street cue 
chamber. Time in representation, twenty-five minutes. 

44 THij MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. H. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Sceaery, a plaiu 
chamber. Time in representation, fifteen minutes 








DE WITT’S ETHIOPIAN AND COMIC DRAMA. 


No. 

45 REMITTANCE FROM HOME. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. A very lively piece, 
full of Imstle, and giving half a dozen people a good chance. Time in repre¬ 
sentation, twenty minutes. 

46 A SLIPPERY BAY. An Ethiopian Sketch in one scene, 

by Robert Ilart. Six male, one female characters. By a very simple mechan¬ 
ical contrivance, plainly planned and described in this book, a few persons 
can keep an audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON’T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to “do” the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging “fighters” that can’t lick a piece of big taffy. Time of 
playing, twenty minutes. 

49 A NIGHT IN A STRANGE HOTEL. A laughable Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al¬ 
though this piece has only two personators, it is full of fun. Time in rep¬ 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good dcaVof humor of the Mulli¬ 
gan Guard nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISKSRMAN'3 LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best “ fish 
story ” ever told. It needs two “ star ” darkeys to do it. Time in represen¬ 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre¬ 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS. A Negro Burlesque, by Chas. 

White. Five male, one female characters, in two scenes. A stunning bur¬ 
lesque of the highfalutin melodrama; capital for one or two good imita¬ 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, hy 

A. J. Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Fnll of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughable Inter¬ 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY’S PATIENTS. A laughable Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor’s consent to his wed¬ 
ding his true love. Half a dozen good chances for good actors. Time in 
representation, twenty minutes. 













DK WITT’S ETHIOPIAN AND COMIC DRAMA. 


No. 

58 GHOST IN A FAWN SHOP* An Ethiopian Sketch in 

one scene, by Mr. Mackey. Four male characters. As comical as its title ; 
running over with practical jokes. Time of representation, twenty min¬ 
utes. 

59 THE SAUSAGE MAKERS. A'Negro Burlesque Sketch 

in two scenes, arranged by Charles White. Five male, one female charac¬ 
ters. An old story worked up with a deal of laughable effect. The ponder¬ 
ous sausage machine and other properties need not co.-t more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST WILL. A Negro Sketch, by A. J. Leavitt. 

Four male characters. Very droll from the word “go.” Time of repre¬ 
sentation eighteen minntea. 

61 THE HAPPY COUPLE. A Short Humorous scene^ ar¬ 

ranged by Charles White. Two male, one female characters. A spirited 
burlesqueof foolish jealousy. Ham is a very frolicsome, and very funny 
young darkey. Time of playing, seventeen minutes. 

62 VINEGAR RITTERS. A Negro Sketch in one scene, ar¬ 

ranged by Charles White. Six male, one female characters. A broad bur¬ 
lesque of the popular patent medicine business ; plenty of humorous inci¬ 
dents. Time of representation, fifteen minutes. 

63 TIIS DARKEY’S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
•courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of represeutation, twenty minutes. 

64 THE DUTCHMAN’S GHOST. In on© scene, by Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, the jolly 
shoemaker and Ww frau. are rare ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTER’S TROUBLES. An Amusing Sketch in one 

scene, by Ed. Harrigan. Six male, one female characters. A laughable ex- 
posilion of the queer freaks of a couple of eccentric lodgers that pester a 
poor “porter.” Time in represeutation, eighteen minutes. 

66 PORT WINF vs. JEALOUSY. A Highly Amusing 

Sketch, by William Carter. Two maie, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

67 EDITOR’S TROUBLES. A Farce in one scene, by Ed¬ 

ward Harrigan. Six male characters. A broad farcical description of the 
running of a country journal “under difficulties.” Time of representa¬ 
tion, twenty-three minutes. 

68 HIFPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of sports in the riim and stone smashing prodigies. Time of 
playing, varies with “acts” introduced. 

69 SQUIRE FOR A DAY. A Negro Sketch, by A. J. 

Leavitt. Five male, one female characters. The “ humor of it ” is in the 
mock judicial antics of a darkey judge for a day. Time of representation 
twenty minutes. 

70 GUIDE TO THE STAGE, An Ethiopian Sketch, by Clias. 

White. Three male characters. Contains some thumping theatrical hits of 
the “ Lay on Macduff,” style. Time of playkig, twelve minutes. 


















* DE WITT’S ETHIOPIAN AND COMIC DRAMA. 


71 IN AN2> OUT. A Ne^ro Sketch 122 . on© scene, "by A. *T. 

I.eavitt. Two male characters. A very droll, lively bit of Ian. Time in 
representa.ion, eighteen minutes. 

72 THE STRANGER,. A Burlesque N© 2 :ro Sketch in one 

scene, by A. J. Leavitt. One male, one female characters. An extravagantly 
comical “takeoff” of Kotzebues 1 dolelul drama. Time in representation, 
ten minutes. 

73 THE AFRICAN BOX ; or, THE MAGICIAN’S TROUE- 

les. A Burlesque on the “ Box Mystery,” in two scenes, arranged by Char¬ 
les White. Brimful of roaring fuu. Five male characters. Time in re¬ 
presentation, twenty minutes. 

74 THE SLEEPWALKER. An Ethiopian Sketch in two 

scenes, by A. J. Leavitt. Three male characters. A cornucopia of irre¬ 
pressible cacchination. Time in representation, twenty minutes. 

75 WESTON THE WALKIST. A very Amusing Sketch in 

one scene, by John Mack. Seven inale, one female characters. A capital 
hit at the ‘ thousand miles in a thousand hours” mania. Time in repre¬ 
sentation, twenty minutes. 

76 1,2, 3 (or “ BOUNCE”). A N®gr© Sketch in one scene, hy 

John Wild. Shows a happy style of vetting rid of troublesome intruders. 
Six male, one female characters. Time in representation, twenty minutes. 

77 GETTING SQUARE ON THE CALL ROY. A Humor¬ 

ous Negro Sketch in one scene, arranged by Charles White. Three mule j 
characters. A capital game of “ tit for tat.” Time in representation, iif- j 
teen minutes. 

78 THE BOGUS INJUN. A very laughsijle Sketch in four 

scenes, arranged by Charles White. Five inale, two female characters. f 
Showing the effect of introducing “ ye noble savage ” into drawing rooms. I 
Time of representation, sixteen minutes. 

79 BARNEY’S COURTSHIP ; or MOL.LIE, BEAR. A 

musical Interlude in one act, by Harry Maearthy. One male, two female 
characters. This is one of the cleverest little Irish musical pieces on the 
stage. Time in representation, thirty minutes, 

80 SCENES ON THE MISSESS.IPTI. A real (Southern) 

darkey sketch, in two scenes, by Buckley's Minstrels. Six male characters. 
Fall of “de ole plantation *' fuu. 'Time in representation, twenty-fire min¬ 
utes. 

81 RIVAL ARTISTS. A Negro Sketch in one scene, ar¬ 

ranged by Charles White. Four male characters. Lots of fun, spiced with jj 
satire. Time in representation, wight-eon minutes. 

82 GOOD NIGHT’S REST. A Sketch in one scene, arraing- \ 

ed by Charles White. Four male characters. Amusingly shows how the | 
weary traveller is “ taken in and done for.” Time in representation, fif¬ 
teen minutes. 

83 THE GERMAN EMIGRANT. A Laushalble Sketch j 

ill one scene, by Larry Tooley. Two male, two female characters. Full of 5 
funny action and humorous talk. Time in representation, twenty minutes. | 

84 THE SERENADE. A Ne^ro Sketch, in two scenes, ar¬ 

ranged by Charles White. Bich, broad humor bubbles up in every page, jj 
Seven male characters. Time of playing, seventeen minutes. 

85 THE YOUNG SCAMP. A Darkey Sketch in on© seen©, 

by Add Weaver. Three male character*. The players that can’t tickle 
an audience with this piece, had better “hang np de fiddle and de bow.” 
Time in representation, fifteen minutes. 


I 



















maitoscbipt plats, 


Below will be found a List of nearly all the great Dramatic 
successes of the present and past seasons . Every one of these 
Plays , it will be noticed , are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager , the Scene 
Painter or the Property Man. 

NOTE.-In this list D. stands for Drama, C. for Comedy, P. for Play, F. for 
Farce, A. for Act, m. for male, f. for female. 

/ --- — 

O'i THE! JURY. D. 4 A. By Watts Pnillips. 7 in. 4 f. 

ELFIE ; or, THE CHERRY TREE INN. I). 3 A. By Boucicanlt. 6 m. 4 f. 
THE TYVO THOMS. C. 4 A. By James Albery. 9 m. 3 /. 

A WRONG MAY IV THE RIGHT PLACE. F. 1 A. ByOxenford. 1 m. 3/. 
JEZEBEL ; or, THE DEA.D RECKOVIVS. P. By Boucicanlt. 6 m. 5/. 
THE RAPAREE. D. 3 A■ By Dion Boucicault. 9 m. 2 f. 

’TWIXT AXE AM) CROWN. P. 5 A. By Tom Taylor. 25 m. 12/. 

THE TWO ROSE’S. C. 3 A. By James Albery. 5 m. 4 /. 

JLP. (Member of Parliament.) G. 4 A. By T. W. Robertson. 7 m. 5/. 
MARY WARNER. D. 4 A. By Tom Taylor. 11 m. 5 /. 

PHILOMEL. Romantic D. 3 A. By II. T. Craven. G m. 4/. 

I CYCLE DICK’S DARLING. D. 3 A. By Henry J. Byron. 6 m. 5/. 
LITTLE E3PLY. P. 4 A. By Andrew Halliday. 8 m. 8 /. 

FORMOSA. D. 4 A. By Dion Boucicanlt. 18 m. 8 /. 

AY ENGLISH GENTLEMAN. J). 4 A. By Henry J. Byron. 9 m. 4/. 
FOUL PL AY". D. 4 A. By Dion Boucicault. 14 m. 2/. 

AFTER DARK. D. 4 A. By Dion Boucicault. 14 m. 2/. 

ARR AH-NA-POGUE. D. 3 A. By Dion Boucicault. 14 m. 2/. 

BLACK AY 13 WHITE. D. 3 A. By Wilkie Collins and C. Fechter. 6 m. 2/ 
PARTNERS FOR LIFE. C. 3 .1. By Henry J. Byron. 7 in. 4 f. 

\ KERRY; or, NIGHT AND MORNING. U. 1 A. By Boucicault. 4m. 2 f. 
IIIYKO. P. 5 A. By W. G. Wills. 10 m. 7/. 

NOT IF I KNOW IT. F. 1 A. By John Maddison Morton. 4 m. 4 f. 

DAISY FARM. D. 4 A. By Henry J. Byron. 10 m. 4 f. 

EILEEY OGE. D. 4 A. By Edmund Falconer. 15 m. 4 f. 

NOTRE DAME. D. 3 A. By Andrew Ilalliday. 7 m. 4 f. 

JO AY OF ARC. T. 5 A. By Tom Taylor. 21 m. 4 /. 

OUR AMERICAY COUSIY. C. 3 A. By Tom Taylor. 10 in. 7/. 

JAYET PRIDE. D. Prologue and 4 A- By Dion Boncicault. 9 in. 3 f. 
JENNIE DEANS. D. 'SA. By Dion Boucicault. 12 m. 5/. 

THE FAIRY CIRCLE. Fairy P.2 A. 8 m. 4/. 

! OUR BOY’S. C. 3 A. By H. J. Byron. 6 m. 4 f. 

ULTIMO; or, MONEY AND BRAINS. By G. Von Moser. C. 5 A. 8 in. If. 

I jgfijg* Manuscript copies of these very effective and very suc¬ 
cessful pla\A are vow ready , and will be furnished to Man- 
I avers on verv reasonable terms. 

O 


























• » 


. J . 

No. Composer. 

83. Last Farewell.Tucker. 

86. My Heart is Thine Alone. .Glover. 

8 1 ?. Come Back to Erin.Clarlbel. 

88. Morn on the Meadow.. .Wrighton. 

90. Sad Brown Leaves.Chantrey. 

Of. Fond Memory...Glover. 

9a. I Heard a Spirit Sing.Taylor. 

94. Autumn Twilight.Glover. 

95. Rocked in the Cradle of the 

Deep.Tucker. 

98. Origin of the Harp.Moore. 

fOO. Strangers Yet.Clarlbel. 

fOa. Sweet Land of Tyrol.Theresa. 

103. My Pretty Bird. Sing On. 

Lindbland. 

104. Spring and Autumn.Tucker. 

106. Upon the Snowy Mountain Tops. 

Moller. 

lOT. Ave Maria. Guonod. 

flO. Believe Me if all Endearing 

Charms. Moore. 

fl4. Children’s Voices. f ....Clarlbel. 

115. Long, Long Weary Day.. .Tucker, 
f 16. Why was I Looking Out? 

Blumenthal. 

117. Angels Ever Bright and Fair. 


Tucker. 

laa. Annie Laurie. Tucker. 

193. My Pretty Jane. Bishop. 

134. Distant Land. Benslett. 

125. Dream of Love. Rodwell. 

127. I Love and I am Beloved. .Richard. 

128. Xenia. Lutz, 

ia». On the Mountains . Benedict. 


130. Oh, Waly, Willy, Up the Bank. 

Blumenthal. 

131. The Birds were Telling One 


Another. Smart. 

133. Come Sit Thee Down. Sinclair. 

133. The Standard Bearer.. Lindpainter. 

134. Shells of Ocean . Cherry. 


135. Isle of Beauty, Fare Thee Well. 

Bayley. 

136. Bloom Again, Sweet Prison 

Flower. Young. 


Ab. Composer. 

137. Ever of Thee.Halt 

138. As I’d Nothing Else to Do. 

Hatton. 

139. Grieve Not for Me. Wrighton. 

140. I Cannot Sing the Old Songs. 

Claribel. 


141. Why Do Summer Roses Fade? 

Barker. 

144. I Cannot Mind my Wheel, 


Mother. Linley. 

145. Araby’s Daughter.. Kiallmark. 

146. Young Jenny. Allen, 


147'. O Fair Dove I O Fond Dove ! 

Gatty. 

148. Oh, Keep Me in Your Memory. 

Glover. 

153. Upon the Danube River. ..Tucker. 

154. Just Touch the Harp Gently, My 


Pretty Louise. Blamphin. 

159. When the Corn is Waving, 

Annie. Blamphin. 

160. Love’s Secret. Tucker. 


163. When my Ship Comes Home. 

Lee. 

164. Bird on the Tree .....Nish. 

165. Yeoman’s "Wedding Song, 

Poniatowski. 


166. Linden "Waltz.Aide. 

167. Michael Bray. Philp. 

168. Lover’s Pen. Poniatowski. 

169. Eily’s Reason. Molloy. 

170. With the Stream. Tours. 

l'T'4. Out in the Cold.•••.••••.... .Bagnall. 

175. The Wishing Cap. Wrighton. 

178. The Island of Green. 

Arranged by Tucker. 

180. Meeting in Heaven. Wrighton. 

183. Jenny of the Mill.LedUC. 

186. Esmeralda.Levey. 

196. Heavenly Golden Shore. Rosenthal. 
19’7. Don’t You Remember, Love ? 

Lawrence. 

198. Hark! the Drum.Nish. 

300. Anita (the Chieftain’s Wife). 

Richards. 


OPERATIC SONGS. 


lO. Little Blue Butterfly. Herve. 

ST". Loving Daughter’s Heart... .Balfe. 

39. Paradise of Love. Balfe* 

69. O Rare Malvoisie!. Offenbach. 

71. Light of Other Days. Balfe. 

73. Rhotomago’s Partner Fair. 

Offenbach. 

’77'. Ah ! What a Fate !. Offenbach. 

80. Then You’ll Remember Me.. Balfe. 

81. Turtle Doves. Offenbach. 

83. ’Tis Sad to Leave Our Father. 

land... .Balfe* 


84. On Yonder Rock Reclining... Anber. 

85. Walk lip Now, This is No Hum* 

hug. 

89. Song of the Tight Rope Dancer. 


Offenbach. 

93. These Aching Teeth. Offenbach. 

9T. Painted so Fine—Eyes Divine. 

Offenbach. 

99, Anvil Chorus.Verdi. 

lOl. Fool, You may Say it if You 

Please. Offenbach. 

































































LIBRARY OF CONGRESS 




✓ 


No. Composer. 

103. Oh, Flowers so Fair and Sweet. 

Offenbach. 

108. Mlgnon. Thomas. 

109. Pleased "with Myself.... .Offenbach. 

111. Heart Bowed Down. Balfe. 

113o Young Agnes, Beauteous 

Flower. Auber. 

113. X Dreamt X Dwelt iu Marble 
Halls. Balfe. 


11S. Her Gentle Voice Expressed, etc. 

Balfe. 


II 

| 

mu 


[ 


0 017 400 193 5 


No. ivnjana', 

119, The Tempest of the Heart. .Verdi. 
130. Why Linger, Mourner Memory? 

Mellow. 

121. Eist to the Gay Castanet ....Balfe. 

136. The Ball.Thomas. 

143. My Own, My Guiding Star. 

Macfarren. 

143, Ah t So Pure.Flotow. 

133. Where shall I Take my Bride ? 

Herne. 


COMIC AND SERIO COMIC SONGS. 


1. Pretty Polly, if you Love Me. 


Coote. 

3. Fisherman’s Daughter.Bagnall. 

4. I’ll Tell Your Wife.Egerton. 

I 5'. lip in a Balloon............Hunt. 

9. Captain Jinks . .Maclagan. 

> 11. Champagne Charlie.Lee 

13. Thady O’Flynn.Molloy. 

13. Tassels on the Boots. Tucker. 

15. Tommy Dodd. Clarke. 

IT. That’s the Style for Me.Young. 

18. Pretty Tittle Flora.Leyborne. 

19. Bother the Men.Walker 

83. I Wish I was a Fish.Hunt. 

34. Put it Down to Me.Gatty. 

88. Oh, Wouldn’t You Tike to Know? 

Musgrave. 

30. "Where is my Nancy?.Hunt. 

33. ImmenseikolF.Lloyd. 

38. Good.bye, John; or. Chickabiddy. 
40. Deau ef Saratoga. Yance. 

43. met ,or Joseph. Lloyd. 

44. California Geld.Hunt. 

48. Susan, Susan, Pity my Confusion. 

Burnam. 

50. "Wnlking in the Park. Lee. 


53. Bell Gees n-Kiuging for Su-i-rali. 

Hunt. 

53. Call Her Back and Kiss Her. 

Mlnasi. 

56. Flying Trapeze... Lee. 

58. It’s mice to be a Father... .Hunt. 


MOTTO 

34. Way of the "World. Ellery. 

36. It’s All the Same to Sam. ..Hunt. 
46. It’s Better to Lough than to Cry. 

Clifton. 

54. On, Boys, On, the Course is 


Always Clear. Fetchet. 

60. Act on the Square, Boys.... Lee. 

IT?. A Bit of my Mind. Bell. 

1T9. An Old Man’s Advice. Tinney. 

18?. XJp and he Doing. Smith. 

188. Ten Minutes Too Tate. Clifton. 


66. She Danced Tike a Fairy ..Dudley. 
6?, I Never Go East of Madison 
Square. 

68. Lancashire Lass.Williams. 

96. Bowing Home in the Morning. 

Edgerton. 

*51. If Ever I Cease to Love. .Leybourne. 

153. His Heart was True to Poll. 

Tucker. 

156. I’m a Timid, Nervous Man. 

Cherry. 

15?. Rhein "Wine Sharley.. .Leybourne. 


158. Heathen Chinee. Tucker. 

163. Housekeeper’s Woes.Fechter. 

1?1. Dow'n in a Coal Mine.. .Geoghegan. 

1?3. Dolly Yarden. Lee. 

1?3. Tittle Coquette.....Lee. 

1?6. Good-bye, Charlie.Hunt. 

181. Bom! Bom I BomZ.........Hunt. 

183. Modern Times. Coote. 

184. The Hardware Tine. ...Banks. 

185. Jack’s Present. Byron. 


189. mVhen the Band Begins to Play, 

Hunt. 

190. TJpon the Grand Parade.. .Davies. 

191. Ada w r ith the Golden Hair• 


G. W. M. 

193. Awfully Clevrer.Hunt. 

193. Perhaps She’s on the Railway. 

McCarthy. 

194. Mother Says I Mustn’t.Hunt. 


SONGS. 

Wuuld You be Surprised ?. .Coote. 
O’Donnell Aboo.............. Morine. 


149. Popular Airs for Tittle Fingers, 

No. 1. Walking in the Park ; Beautiful 
Bells. 

150. Popular Airs for Tittle Fingers, 

No. 2. Captain Jinks ; Tapping at the 
Garden Gate. 

161. Berger Family «« Bells Mazurka.” 









































































